Plagiarism and Literary Property in the Romantic PeriodUniversity of Pennsylvania Press, 2013 M04 23 - 256 pages In a series of articles published in Tait's Magazine in 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship? |
From inside the book
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... reviewer and poet, constitutive? Per— haps most importantly, has Romanticism's almost exclusive critical association with the values of self-legislating originality helped to obscure the degree to which these writers were concerned with ...
... reviewers. On the other hand, writers who did not acknowledge their borrowings, even implicitly (and implicit' avowal was one category of acknowledgment), were not considered plagiarists, no matter how extensive the correspondences, if ...
... eighteenth- and early nineteenth-century writers and their reviewers by and large agreed that allegations of plagiarism could be settled according to rubrics I have outlined. More importantly, both writers and 8 Chapter 1.
... reviewers—or, as in the case of Wordsworth and Byron and, later, Wordsworth and Landor, a dialogue between two writers in which one or both used the reviewers as mouthpieces. It is not difficult to find instances in which prominent ...
... reviewers such as Edmund Burke emphasized that the “story is in reality nothing more than a vehicle for satire.”32 By the 1790s, however, Sterne was being accused of plagiarism from sources that ranged from sermons to Shakespeare, and ...
Contents
1 | |
17 | |
3 Property and the Margins of Literary Print Culture | 49 |
Byron Originality and Aesthetic Plagiarism | 86 |
Travel Writing and the Defense of Modern Poetry | 122 |
Class Improvement and Enclosure | 144 |
Afterword | 182 |
Notes | 189 |
Bibliography | 211 |
Index | 227 |
Acknowledgments | 235 |